History AmericansHateTingle / Music

** Britpop, in turn, largely got the cold shoulder in the U.S., with Music/{{Oasis}} probably the only band to have much success, and Music/{{Blur}} becoming a OneHitWonder with "Song 2" (which was [[http://www.allmusic.com/song/song-2-mt0026948965 ironically intended]] as a ''parody'' of grunge). Americans who liked grunge naturally didn't take well to a genre that explicitly repudiated it, while Americans who didn't like grunge mostly turned to CountryMusic, classic rock, adult alternative, and bands like Music/HootieAndTheBlowfish as an antidote. While bands like Music/{{Pulp}} and Music/{{Suede}} gained an underground following, none of them really broke through on the alternative charts (Compare this to just a few years earlier, when {{Shoegazing}} and [[AlternativeDance Madchester dance music]] were all over American alternative rock radio), though some of the major British indie bands from the '80s that were staples of early alternative radio in the U.S. like Music/DepecheMode, Music/{{The Cure|Band}} and Music/NewOrder remained popular, but even then their popularity seemed limited to urban areas where dance and indie rock still had significant followings.

** Semisonic's "Closing Time", one of the definitive OneHitWonder hits of late 90s American alternative radio (and also a big hit in Canada), was greeted with indifference in Europe, only managing to climb to #25 on the British charts and bombing elsewhere. Oddly, RevivalByCommercialization in ''Film/FriendsWithBenefits'' and ''Series/TheOfficeUS'' led it to return to the lower rungs of the UK charts in 2011 and 2012. The band ''did'' manage a GermansLoveDavidHasselhoff case in 1999 when "Secret Smile", a song that flopped in the US due to ScrewedByTheNetwork, climbed up to #12 in the UK.
** Ultimately, both grunge and Britpop wound up collapsing around the same time (1996-97) -- grunge had worn out its welcome following Kurt Cobain's suicide and was beginning to change into the (now very hated) post-grunge, while Britpop fell amidst an identity crisis, as seemingly nobody could define where the genre started and ended, combined with several badly-received albums. This along with the rap world's East Coast/West Coast feud (and subsequent reconfiguration after the deaths of Tupac and Biggie) enabled the Music/SpiceGirls to break through to America and kickstart the late 90s pop revival, thus defying this trope (at least for a little while).

** In the early-mid-1990s, {{grunge}} was ''huge'' in the United States, but in the UK it received a very divisive reception. It got a lot of press coverage in the vacuum following the demise of Madchester, and for a time, almost every stand-up comedian had his own Music/KurtCobain impersonation, but it never became the mainstream phenomenon it was in the States, and most Brits would have struggled to name a grunge band that wasn't Music/{{Nirvana}}. Aside from Nirvana, Music/{{Soundgarden}} were the only other grunge band who had success in the UK. Music/AliceInChains and Music/{{L7}} had British followings and a handful of Top 40 hits each, but topped out at #19 and #21 respectively. Music/PearlJam, who remained huge stars in the US for decades after the grunge era, only had one Top 10 hit in the UK, and Music/StoneTemplePilots only made the Top 40 there just once. Meanwhile, the upbeat and exuberant {{Britpop}} music genre emerged as a backlash against the dourness and pessimism of grunge. However, there were some exceptions: the British band Bush, for example, continued to play music inspired by grunge years after the scene faded in the US.

* ElectronicMusic and its numerous sub-genres are extremely popular all across Europe, to the point where they qualify as pop music in their own right and other countries such as Australia and some throughout Asia and South America have dedicated fanbases. In America (and to a lesser extent, Canada), while the genre is not outright hated and has a very large following (enough to draw in gigantic crowds at festivals), it tends to receive a polarizing reaction outside its target audience, with many fans of pop, rock, hip-hop, and R&B viewing it as competition, but however, this attitude has changed throughout time. In order to cross over to American pop radio, an EDM song has to have very pop-ready sensibilities (using the verse-chorus-verse structure, having a pop singer as a featured artist), which has caused an equally large schism between mainstream-friendly "celebrity" [=DJs=] (i.e. Music/CalvinHarris, Music/DavidGuetta, {{Music/Hardwell}}, Music/{{Skrillex}}, etc.) and those who treat electronic music as an art form and have decried the increasingly commercialized "EDM" sound. Because of this, ElectronicMusic is starting to have more presence and acceptance in America.

* That being said, Larsson's success in the States is still far greater than that of her collaborator on "Never Forget You", British EDM singer MNEK, as outside of that song his only other notable chart hits anywhere in the world are his guest appearances on other EDM producers' tracks, namely Gorgon City's "Ready For Your Love", which was a #4 hit in his homeland but failed to make an impression anywhere else, Joel Corry's "Head and Heart", which was a chart-topper at home and reached the top ten in multiple countries, but only peaked at #99 in the US, and Jax Jones's "Where Did You Go?", which also charted in multiple countries and reached #7 at home. MNEK is primarily a producer and has had far more success as such.

* With the exception of "Annie's Song", most of Music/JohnDenver's work is known to British audiences primarily through British cover versions.

** The lone exception to The Tragically Hip's inability to break into the US, and one that proves the rule, is the state of UsefulNotes/{{Michigan}}, including the area around UsefulNotes/{{Detroit}}. Many of the music radio stations in the Detroit market are actually based across the border in Windsor, Ontario, and therefore play The Hip's music (in large part to satisfy [[ImportFilter Canadian]] [[https://en.wikipedia.org/wiki/Canadian_content Content]] requirements), thus familiarizing their American listeners with the sound. Incidentally, this is also one reason that Michiganders have a tendency to like Music/BarenakedLadies, Music/TheNewPornographers, and other Canadian bands; the state is sometimes jokingly referred to as "Canada's 11th province" due to the Canadian influence in music, sports, and other elements of its culture. They also have a following in and around Buffalo, New York, which is another big border community where Canadian culture has seeped in (trolls occasionally refer to Buffalo as "a suburb of UsefulNotes/{{Toronto}}" to get a rise out of the locals--and to be fair, T.O. is like six times larger and is only about an hour and a half away).[[note]]Perhaps more to the point, Hamilton, Ontario, which is about half an hour closer to Buffalo, is about twice the size of Buffalo and pretty much really is a glorified suburb of Toronto.[[/note]]

* In a lesser case, Music/MidnightOil are music legends in their native Australia, with their album ''Diesel & Dust'' even being listed as the country's best ever, beating Music/{{ACDC}}'s ''Back in Black''. Internationally, they are either a OneHitWonder for one of the singles off ''Diesel & Dust'', "Beds are Burning", or have just a small amount of extra hits, such as "Blue Sky Mine". Granted, they at least managed what The Hip couldn't and score worldwide doing songs relying heavily on local matters - namely Australian politics and occurrances, [[ProtestSong usually in a negative manner]].

* The GDR anthem is a very odd example, as it was ''banned'' in its own country while still being the national anthem. You see, the lyrics contained the words "Deutschland einig Vaterland" [[note]] Germany united fatherland - word which are often quoted in German nowadays or slightly modified for a pun[[/note]], however, by the 1970s, the GDR had given up any pretense of a united Germany instead striving to cement the status quo of "two German states", while the West never gave up reunification. When Willy Brandt quoted the line on a state visit, the GDR regime noticed how dangerous their own anthem had become and instead chose to play it instrumental only from then on. The GDR is probably the only country in history where singing the national anthem could get you in trouble.

* The Music/SexPistols recorded a UK #1 album with ''Music/NeverMindTheBollocksHeresTheSexPistols'', which never cracked the top 100 in sales in the U.S. It did not help matters that the Pistols' sole U.S. tour during their original run was a publicity stunt concocted by Malcolm [=McLaren=] that saw the Pistols touring the Bible Belt to generate lots of "rednecks vs. punks" news. ([[http://www.openculture.com/2014/07/the-sex-pistols-do-dallas.html One oft-shown image]] has the theater marquee of the Longhorn Ballroom in Dallas showing the Sex Pistols headlining that week, with the next week's show featuring Music/MerleHaggard!) One of the only shows in punk-friendly territory was the very last in San Francisco – and that one ended with [[Music/JohnLydon Johnny Rotten]] leaving the stage, and the band, abruptly.\\\

* British boy bands have had a notoriously tough time breaking into the American market. Music/{{Take That|Band}}, for example, were the biggest boy band in UK history. While they didn't have the same popularity worldwide, they were at least able to have some moderate success internationally... everywhere except the United States, where their 1995 album peaked at a dismal #69 and they got lucky with one top 10 hit with "Back For Good". Bands like East 17, Music/{{Westlife}}, and Boyzone all tanked miserably as well. Bands of the 2010s like JLS and Music/TheWanted also experienced little to no success stateside (aside from one big hit for the latter). Music/OneDirection, however, was successful in the United States, [[GermansLoveDavidHasselhoff possibly more so than in the UK]].

* ElectronicMusic and its numerous sub-genres are extremely popular all across Europe, to the point where they qualify as pop music in their own right and other countries such as Australia and some throughout Asia and South America have dedicated fanbases. In America (and to a lesser extent, Canada), while the genre is not outright hated and has a very large following (enough to draw in gigantic crowds at festivals), it tends to receive a polarizing reaction outside its target audience, with many fans of pop, rock, hip-hop, and R&B viewing it as competition. In order to cross over to American pop radio, an EDM song has to have very pop-ready sensibilities (using the verse-chorus-verse structure, having a pop singer as a featured artist), which has caused an equally large schism between mainstream-friendly "celebrity" [=DJs=] (i.e. Music/CalvinHarris, Music/DavidGuetta, {{Music/Hardwell}}, Music/{{Skrillex}}, etc.) and those who treat electronic music as an art form and have decried the increasingly commercialized "EDM" sound.

* Even Music/TheBeatles were victims of this, in a few different places, in 1966. The most famous one involved Music/JohnLennon's infamous "we're [[BiggerThanJesus more popular than Jesus]]" comment, which was more or less dismissed as harmless in the Beatles' native Britain, especially after Lennon clarified it... but this was not the case in America. There, a few radio stations in the South held burnings of Beatles records, and the whole ordeal turned into a media ruckus. The anti-Beatles sentiment wasn't actually very widespread, but there was enough of it in some areas that the Beatles had to cancel a few tour dates due to threats. Far worse was the reception they received that year in the Philippines, when they were essentially chased out of the country for refusing to play for Imelda Marcos, and to a lesser extent, the controversy in Japan from their appearance at the Budokan (which is now a popular concert venue, but at the time was reserved for martial arts, and many saw the Beatles' appearance there as disrespectful). All of these incidents, along with the increasing complexity of their music, made 1966 their last tour.

* Japanese music, whether it be pop, rock, metal, hip-hop, etc., largely falls into this with American audiences. The big acts are household names in their native Japan and have a large amount of crossover appeal in other Asian countries, and even a fair amount in Europe and Latin America (enough that they can tour those areas to large crowds). In the US, however, most artists don't even bother releasing their material for Americans because when they do, they almost never chart anywhere. The few Japanese artists that do tour the US find themselves relegated to small venues. This is largely due to the aforementioned problem songs sung in another language besides English have with appealing to Americans, as well as the general perception of the [[OccidentalOtaku people who listen to Japanese music]][[note]]They're often labeled "weeaboos" for it.[[/note]] and even the TotallyRadical style of Japanese music and its marketing tactics, particularly in mid-late 2010s. In fact, often the only way a Japanese act can play to a fairly large audience stateside is by doing so at ''anime conventions''. NoExportForYou is also a major issue, with artists and labels not bothering to make their music accessible to those outside of Japan. Most infamously, LDH region blocked some of Music/EGirls music videos on [=YouTube=] and Johnny & Associates refusing to export ''any'' of their artists for the longest time. This issue has lessened with streaming services such as Spotify and Apple Music, but you’re hard pressed to find any kind of English social media presence or merch for Japanese artists outside the country.

* Japanese music, whether it be pop, rock, metal, hip-hop, etc., largely falls into this with American audiences. The big acts are household names in their native Japan and have a large amount of crossover appeal in other Asian countries, and even a fair amount in Europe and Latin America (enough that they can tour those areas to large crowds). In the US, however, most artists don't even bother releasing their material for Americans because when they do, they almost never chart anywhere. The few Japanese artists that do tour the US find themselves relegated to small venues. This is largely due to the aforementioned problem songs sung in another language besides English have with appealing to Americans, as well as the general perception of the [[OccidentalOtaku people who listen to Japanese music]][[note]]They're often labeled "weeaboos" for it.[[/note]] and even the TotallyRadical style of Japanese music and its marketing tactics, particularly in mid-late 2010s. In fact, often the only way a Japanese act can play to a fairly large audience stateside is by doing so at ''anime conventions''. NoExportForYou is also a major issue, with artists and labels not bothering to make their music accessible to those outside of Japan. This issue has lessened with streaming services such as Spotify and Apple Music.

** The only Japanese act to have any success, relatively speaking, in the US as of late is Music/BabyMetal, largely due to the MemeticMutation of a Teen Pop [[GirlGroup Idol Group]] performing HeavyMetal music. They opened for, of all people, Music/LadyGaga, and they actually got their debut album to chart on the ''Billboard'' 200... at #187... though their next two albums fared much better, debuting at #39 and #13, respectively, with the latter becoming the highest-ranking Japanese-language album on the chart. One song historically, that managed to reach the #1 spot was "Sukiyaki" by Kyu Sakamoto way back in 1963 and now become a ToughActToFollow. This ''might'' be changing with a few Japanese acts (namely One OK Rock and Music/CrystalLake) doing big tours in America and Europe and opening up many outside of Japan to Japanese rock and metalcore. However their success can largely be attributed to good timing and better marketing outside of their home country.
** A particular genre that’s had a lousy time getting traction outside of Japan and South Korea is “Kawaii Metal,” which is a blend of JapanesePopMusic or KoreanPopMusic with HeavyMetal elements. Think Music/BabyMetal, Music/{{Dreamcatcher}}, and Broken By The Scream. In addition to the aforementioned issues, the pop elements of the music are a turn off to metal heads, and the metal elements are off putting to non-metal listeners. Not helping is many artists playing the style having to come after [=BabyMetal=]’s international success, [[ToughActToFollow and being compared unfavorably to them.]] The only band besides [=BabyMetal=] to have any sort of international interest is Hanabie, who went viral on Website/TikTok and Website/YouTube with their song “Osaki ni Shitsureishimasu/Pardon Me, I Have To Go Now.”

* Japanese music, whether it be pop, rock, metal, hip-hop, etc., largely falls into this with American audiences. The big acts are household names in their native Japan and have a large amount of crossover appeal in other Asian countries, and even a fair amount in Europe and Latin America (enough that they can tour those areas to large crowds). In the US, however, most artists don't even bother releasing their material for Americans because when they do, they almost never chart anywhere. The few Japanese artists that do tour the US find themselves relegated to small venues. This is largely due to the aforementioned problem songs sung in another language besides English have with appealing to Americans, as well as the general perception of the [[OccidentalOtaku people who listen to Japanese music]][[note]]They're often labeled "weeaboos" for it.[[/note]] and even the TotallyRadical style of Japanese music and its marketing tactics, particularly in mid-late 2010s. In fact, often the only way a Japanese act can play to a fairly large audience stateside is by doing so at ''anime conventions''.

This dissonance may be explained by how, while Europe remained friendly to pop through the early 1990s (the years when Minogue's career was just starting to take off), the US flat-out revolted against it during the same time period. When she first hit the scene in 1987, Minogue was merely a manufactured bubblegum pop artist in a market over-saturated with such. With ''Rhythm of Love'' in 1990 and ''Let's Get to It'' in 1991, she took creative control of her career and image, broke from the Stock Aitken Waterman team, and redeemed herself as a mature, credible artist while most of her peers fell into obscurity. However, ''Rhythm of Love'' suffered the worst possible timing: it was released on November 12, 1990, just two days before Music/MilliVanilli's manager/producer Frank Farian admitted that the duo never sang the music on their records. This created a ''huge'' backlash against bubblegum pop in America that fueled the rise of {{Grunge}}, HipHop, RAndB, and adult alternative, and killed the careers of just about every American pop artist who wasn't playing a more R&B-inflected sound like Music/MariahCarey or Michael and Music/JanetJackson (save for the "Queen of Pop" Madonna, and even she went through an AudienceAlienatingEra around this time). By the time the backlash subsided in the late '90s, Minogue's {{disco}} and SynthPop-flavored style had diverged far from the new wave of American pop, which was influenced by R&B and hip-hop. Even after the internet exposed Minogue to a wider American audience, she's still seen as more of a niche artist popular among [[LGBTFanbase gay men]] rather than an international juggernaut. She's probably better known for her roles in SoBadItsGood films like ''Film/StreetFighter'', ''Film/BioDome'', and ''[[WesternAnimation/TheMagicRoundabout Doogal]]'' than she is for singing among Americans.

* Another Canadian victim was Music/LeonardCohen, who was renowned in Canada and in Europe but had sporadic success in the US. His song "Hallelujah", on the other hand, has met with widespread success owing to being CoveredUp by over two thousand artists and bands, as well as having been featured in the film, ''WesternAnimation/{{Shrek}}'', and [[PosthumousPopularityPotential its popularity reached its peak during the year of his passing in 2016]].

* Music/{{VOCALOID}} does not have the same craze-level following or cultural relevance in the West as it does in Japan. The Japanese music scene is comfortable with the idea of manufactured {{Idol Singer}}s, but the American music scene is still dominated by discussions of 'authenticity' to the point where it's still somewhat controversial to use [[ElectronicMusic electronic instruments]] or AutoTune. Japan also has a robot-focused culture, viewing automata as objects [[CreatingLifeIsAwesome imbued with life by human ingenuity]], so a singing computer seems like a joyful, utopian idea. In the West, where robots and [=AIs=] are viewed as [[UncannyValley creepy]] and [[PlayingGod soulless creations of hubris]], synthetic singers are NightmareFuel. Lastly, making convincing [[SyntheticVoiceActor synthesised speech]] is easier in Japanese, with its low number of phonemes and syllable-based writing system. English has a lot more phonemes and spelling quirks, meaning that even [=VOCALOIDs=] designed for English speech [[WhatTheHellIsThatAccent seem to have thick, unidentifiable accents]] [[TheUnintelligible if they're even intelligible at all]]. This is even noticeable with English [=VOCALOIDs=] like CYBER DIVA and Sweet Ann who were designed specifically to have American accents. While Music/HatsuneMiku has managed to gain some traction in America (enough to appear on ''Series/TheLateShowWithDavidLetterman'' in 2014 and for her [[VideoGame/HatsuneMikuProjectDiva video]] [[VideoGame/ProjectSekai games]] to get localized), her popularity in America is very niche compared to her near mainstream level of popularity in Japan.

* Japanese music, whether it be pop, rock, metal, hip-hop, etc., largely falls into this with American audiences. The big acts are household names in their native Japan and have a large amount of crossover appeal in other Asian countries, and even a fair amount in Europe and Latin America (enough that they can tour those areas to large crowds). In the US, however, most artists don't even bother releasing their material for Americans because when they do, they almost never chart anywhere. The few Japanese artists that do tour the US find themselves relegated to small venues. This is largely due to the aforementioned problem songs sung in another language besides English have with appealing to Americans, as well as the general perception of the [[OccidentalOtaku people who listen to Japanese music]][[note]]They're often labeled "weeaboos" for it.[[/note]] and even TotallyRadical style of Japanese music and its marketing tactics, particularly in 2010s. In fact, often the only way a Japanese act can play to a fairly large audience stateside is by doing so at ''anime conventions''.

* Japanese music, whether it be pop, rock, metal, hip-hop, etc., largely falls into this with American audiences. The big acts are household names in their native Japan and have a large amount of crossover appeal in other Asian countries, and even a fair amount in Europe and Latin America (enough that they can tour those areas to large crowds). In the US, however, most artists don't even bother releasing their material for Americans because when they do, they almost never chart anywhere. The few Japanese artists that do tour the US find themselves relegated to small venues. This is largely due to the aforementioned problem songs sung in another language besides English have with appealing to Americans, as well as the general perception of the [[OccidentalOtaku people who listen to Japanese music]].[[note]]They're often labeled "weeaboos" for it.[[/note]] In fact, often the only way a Japanese act can play to a fairly large audience stateside is by doing so at ''anime conventions''. The only Japanese act to have any success, relatively speaking, in the US as of late is Music/BabyMetal, largely due to the MemeticMutation of a Teen Pop [[GirlGroup Idol Group]] performing HeavyMetal music. They opened for, of all people, Music/LadyGaga, and they actually got their debut album to chart on the ''Billboard'' 200... at #187... though their next two albums fared much better, debuting at #39 and #13, respectively, with the latter becoming the highest-ranking Japanese-language album on the chart. One song historically, that managed to reach the #1 spot was "Sukiyaki" by Kyu Sakamoto way back in 1963 and now become a ToughActToFollow. This ''might'' be changing with a few Japanese acts (namely One OK Rock and Music/CrystalLake) doing big tours in America and Europe and opening up many outside of Japan to Japanese rock and metalcore. However their success can largely be attributed to good timing and better marketing outside of their home country.

Much of this divide has to do with the different ways the US and UK punk scenes developed. Bands on both sides of UsefulNotes/ThePond drew influences from the same bands -- the big American {{protopunk}} acts (Music/TheStooges, Music/VelvetUnderground, Music/NewYorkDolls, Music/MC5, The Dictators, etc.) were widely respected in both the US and the UK, while Music/TheRamones, an American band and firm believers in ThreeChordsAndTheTruth, played a major role in [[GermansLoveDavidHasselhoff launching the British scene]]. Despite their shared inspirations, however, American and British punks came from [[SlobsVersusSnobs very different backgrounds]]. The American scene was more [[BourgeoisBohemian artsy, middle-class, and bohemian]], the '70s version of {{hipster}}s, while the British scene was predominantly working-class. The breaking point between the American and British punk scenes was when [[Music/JohnLydon Johnny Rotten]] openly mocked Music/PattiSmith's 1976 performance in London as pretentious, a feeling that Smith reciprocated by claiming that the Sex Pistols had no talent. (By contrast, the more equally working class but more sophisticated Music/TheClash managed to score hits across the Pond.) Despite the development of punk scenes across the country, punk never had the same impact on American culture that it did in the U.K. It would have to wait until the rise of {{Grunge}} in the '90s to do that.

Much of this divide has to do with the different ways the US and UK punk scenes developed. Bands on both sides of UsefulNotes/ThePond drew influences from the same bands -- the big American {{protopunk}} acts (Music/TheStooges, Music/VelvetUnderground, Music/NewYorkDolls, Music/MC5, The Dictators, etc.) were widely respected in both the US and the UK, while Music/TheRamones, an American band and firm believers in ThreeChordsAndTheTruth, played a major role in [[GermansLoveDavidHasselhoff launching the British scene]]. Despite their shared inspirations, however, American and British punks came from [[SlobsVersusSnobs very different backgrounds]]. The American scene was more [[BourgeoisBohemian artsy, middle-class, and bohemian]], the '70s version of {{hipster}}s, while the British scene was predominantly working-class. The breaking point between the American and British punk scenes was when [[Music/JohnLydon Johnny Rotten]] openly mocked Music/PattiSmith's 1976 performance in London as pretentious, a feeling that Smith reciprocated by claiming that the Sex Pistols had no talent. (By contrast, the more equally working class but more sophisticated Music/TheClash managed to score hits across the Pond.) Despite the development of punk scenes across the country, punk never had the same impact on American culture that it did in the U.K.

Much of this divide has to do with the different ways the US and UK punk scenes developed. Bands on both sides of UsefulNotes/ThePond drew influences from the same bands -- the big American {{protopunk}} acts (Music/TheStooges, Music/VelvetUnderground, Music/NewYorkDolls, Music/MC5, The Dictators, etc.) were widely respected in both the US and the UK, while Music/TheRamones, an American band and firm believers in ThreeChordsAndTheTruth, played a major role in [[GermansLoveDavidHasselhoff launching the British scene]]. Despite their shared inspirations, however, American and British punks came from [[SlobsVersusSnobs very different backgrounds]]. The American scene was more [[BourgeoisBohemian artsy, middle-class, and bohemian]], the '70s version of {{hipster}}s, while the British scene was predominantly working-class. The breaking point between the American and British punk scenes was when [[Music/JohnLydon Johnny Rotten]] openly mocked Music/PattiSmith's 1976 performance in London as pretentious, a feeling that Smith reciprocated by claiming that the Sex Pistols had no talent. (By contrast, the more equally working class but more sophisticated Music/TheClash managed to score hits across the Pond.)

* It took until 1987 for Music/{{Heart|Band}} to have a major hit in Britain.[[note]] Their LP ''Dreamboat Annie'' haad been ritically well received and di respectably in the LP charts, but the single ''Magic Man'' was never more than a very minor hit despite lots of radio airplay. The later single ''Barracuda'' was also critically received but only grazed the lower end of the British charts.[[/note]] They had originated as a '70s hard rock band with heavy influences from Music/LedZeppelin, themselves far more popular in America than the UK (despite being British themselves). At that time, the British rock scene was dominated by glam rock and eventually punk, while bands with earthier aesthetics rarely found nearly as much success. Even after their smash comeback SelfTitledAlbum in 1985, they still didn't find their footing in the UK until "Alone", a power ballad with huge mainstream appeal that went to #1 in the US. The success of that song led to their biggest hits from their self-titled record also becoming hit singles in Britain years after they were on the American charts, but the band's '70s period remains relatively obscure there.

* It took until 1987 for Music/{{Heart|Band}} to have a hit in Britain. They had originated as a '70s hard rock band with heavy influences from Music/LedZeppelin, themselves far more popular in America than the UK (despite being British themselves). At that time, the British rock scene was dominated by glam rock and eventually punk, while bands with earthier aesthetics rarely found nearly as much success. Even after their smash comeback SelfTitledAlbum in 1985, they still didn't find their footing in the UK until "Alone", a power ballad with huge mainstream appeal that went to #1 in the US. The success of that song led to their biggest hits from their self-titled record also becoming hit singles in Britain years after they were on the American charts, but the band's '70s period remains relatively obscure there.

* Music/Maroon5 was a [[GermansLoveDavidHasselhoff phenomenon in Chile]] for many years and they were loved in past concerts there and having a massive fandom. That, until 2020 version of [[https://en.wikipedia.org/wiki/Viña_del_Mar_International_Song_Festival Viña del Mar International Song Festival]], one of the biggest Latin American music festivals of the world, where they were invited as the only Anglo band. Their poor performance and a reluctant Adam Levine, who also threw up shitty comments after the show, were object of a big polemic [[https://www.bbc.com/news/entertainment-arts-51675873 even covered by BBC]]. Since then, and despite the apologies Levine gave ([[LateToTheTragedy various weeks]]) after the show, all that fandom was gone and now the band is ''completely'' hated in Chile, at the point every certain time Adam's been trolled in Twitter by Chileans.

** However, her single "All I Am" seems to be popular with Website/YouTube viewers, due to the ''excessive'' amounts of MsFanService and BareYourMidriff.

* [[https://www.youtube.com/c/IceOfficialChannel Ice]] (a.k.a. Iceloki), a Hongkonger in Taiwan who was employed with Rayark (of ''VideoGame/{{Cytus}}'' fame) and made songs for them and some other {{Rhythm Game}}s, is absolutely hated in mainland China due to the song "Telegraph : 1344 7609 2575", [[https://www.reddit.com/r/Cytus/comments/htb6ar/ice_left_rayark_after_chinese_players_found_morse/ which was discovered to contain a "free Hong Kong" message in Morse Code]][[note]]The politics around Hong Kong's status with China are extremely messy, especially due to the Chinese government attempting to exert more and more control over Hong Kong in spite of the "one country, two systems" promise made as part of the 1997 handoff of Hong Kong from the UK to China; China was supposed to allow Hong Kong to maintain its existing systems for 50 years (until 2047)[[/note]]. Despite the song not being made for any rhythm game, the damage was enough that Ice resigned from Rayark, and some of his songs were removed from the Chinese version of ''VideoGame/CytusII'', making him literally BannedInChina. This opinion is generally not shared by the rest of the global rhythm game community, where he and his music are positively-received.

* [[https://www.youtube.com/c/IceOfficialChannel Ice]] (a.k.a. Iceloki), a Hongkonger in Taiwan who was employed with Rayark (of ''VideoGame/{{Cytus}}'' fame) and made songs for them and some other {{Rhythm Game}}s, is absolutely hated in mainland China due to the song "Telegraph : 1344 7609 2575", [[https://www.reddit.com/r/Cytus/comments/htb6ar/ice_left_rayark_after_chinese_players_found_morse/ which was discovered to contain a "free Hong Kong" message in Morse Code]][[note]]The politics around Hong Kong's status with China are extremely messy, especially due to the Chinese government attempting to exert more and more control over Hong Kong in spite of the "one country, two systems" promise made as part of the 1997 handoff of Hong Kong from the UK to China; China was supposed to allow Hong Kong to maintain its existing systems for 50 years (until 2047)[[/note]]. Despite the song not being made for any rhythm game, the damage was enough that Ice resigned from Rayark, and some of his songs were removed from the Chinese version of ''VideoGame/CytusII'', making him literally BannedInChina. This opinion is generally not shared by the rest of the global rhythm game community, where he and his music are generally well-received.

* [[https://www.youtube.com/c/IceOfficialChannel Ice]] (a.k.a. Iceloki), a Hongkonger in Taiwan who was employed with Rayark (of ''VideoGame/{{Cytus}}'' fame) and made songs for them and some other rhythm games, is absolutely hated in mainland China due to the song "Telegraph : 1344 7609 2575", [[https://www.reddit.com/r/Cytus/comments/htb6ar/ice_left_rayark_after_chinese_players_found_morse/ which was discovered to contain a "free Hong Kong" message in Morse Code]][[note]]The politics around Hong Kong's status with China are extremely messy, especially due to the Chinese government attempting to exert more and more control over Hong Kong in spite of the "one country, two systems" promise made as part of the 1997 handoff of Hong Kong from the UK to China; China was supposed to allow Hong Kong to maintain its existing systems for 50 years (until 2047)[[/note]]. Despite the song not being made for any rhythm game, the damage was enough that Ice resigned from Rayark, and some of his songs were removed from the Chinese version of ''VideoGame/CytusII'', making him literally BannedInChina.